Foreword: Mathesis as a philosophy of the beauty of music -- The constructive relationships between music and mathematics : the Pythagorean conception of universal music and its spread in the worldview of later periods -- Semantic interpretation of the interaction between music and mathematics : mystic middle ages and the sacral baroque -- Constructive aspects of the interaction between music and other arts -- Musica mathematica in practice : aspects of analysis -- Constructive aspects of (...) music composition -- Semantic aspects of music composition -- The mathematized musical graph -- Implications of modern mathematical theories. (shrink)

We assessed the automaticity of spatial-numerical and spatial-musical associations by testing their intentionality and load sensitivity in a dual-task paradigm. In separate sessions, 16 healthy adults performed magnitude and pitch comparisons on sung numbers with variable pitch. Stimuli and response alternatives were identical, but the relevant stimulus attribute (pitch or number) differed between tasks. Concomitant tasks required retention of either color or location information. Results show that spatial associations of both magnitude and pitch are load sensitive and that the (...) spatial association for pitch is more powerful than that for magnitude. These findings argue against the automaticity of spatial mappings in either stimulus dimension. (shrink)

ABSTRACT Because the modern concept of number emerged within a quadrivium that included music alongside arithmetic, geometry, and astronomy, musical considerations affected mathematical developments. Michael Stifel embedded the then‐paradoxical term “irrational numbers” (numerici irrationales) in a musical context (1544), though his philosophical aversion to the “cloud of infinity” surrounding such numbers finally outweighed his musical arguments in their favor. Girolamo Cardano gave the same status to irrational and rational quantities in his algebra (1545), for which his contemporaneous (...) work on music suggested parallels and empirical examples. Nicola Vicentino's attempt to revive ancient “enharmonic” music (1555) required and hence defended the use of “irrational proportions” (proportiones inrationales) as if they were numbers. These developments emerged in richly interactive social and cultural milieus whose participants interwove musical and mathematical interests so closely that their intense controversies about ancient Greek music had repercussions for mathematics as well. The musical interests of Stifel, Cardano, and Vicentino influenced their respective treatments of “irrational numbers.” Practical as well as theoretical music both invited and opened the way for the recognition of a radically new concept of number, even in the teeth of paradox. (shrink)

ABSTRACT Because the modern concept of number emerged within a quadrivium that included music alongside arithmetic, geometry, and astronomy, musical considerations affected mathematical developments. Michael Stifel embedded the then‐paradoxical term “irrational numbers” (numerici irrationales) in a musical context (1544), though his philosophical aversion to the “cloud of infinity” surrounding such numbers finally outweighed his musical arguments in their favor. Girolamo Cardano gave the same status to irrational and rational quantities in his algebra (1545), for which his contemporaneous (...) work on music suggested parallels and empirical examples. Nicola Vicentino's attempt to revive ancient “enharmonic” music (1555) required and hence defended the use of “irrational proportions” (proportiones inrationales) as if they were numbers. These developments emerged in richly interactive social and cultural milieus whose participants interwove musical and mathematical interests so closely that their intense controversies about ancient Greek music had repercussions for mathematics as well. The musical interests of Stifel, Cardano, and Vicentino influenced their respective treatments of “irrational numbers.” Practical as well as theoretical music both invited and opened the way for the recognition of a radically new concept of number, even in the teeth of paradox. (shrink)

The roots and evolution of two concepts usually thought to be Western in origin-musica mundana (the music of the spheres) and musica humana (music's relation to the human soul)-are explored. Beginning with a study of the early creeds of the Near East, Professor Meyer-Baer then traces their development in the works of Plato and the Gnostics, and in the art and literature of the Middle Ages and the Renaissance. Previous studies of symbolism in music have tended (...) to focus on a single aspect of the problem. In this book the concepts of musica humana and musica mundane are related to philosophy, aesthetics, and the history of religion and are given a rightful place in the history of civilization. Originally published in 1970. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

Filozofija umjetnosti u mišljenju Anande Kentisha Coomaraswamyja povezana je tradicionalnom filozofijom. Estetika, u modernom smislu, nema veze s tradicionalnom filozofijom umjetnosti, čiji temeljni princip nije »umjetnik je posebna vrsta čovjeka«, nego »svaki je čovjek posebna vrsta umjetnika«. Coomaraswamy nastoji redefinirati suvremeni pristup umjetnosti. Suvremeni umjetnici ne stvaraju svoja djela u skladu s Vječnim Istinama. Apstraktna umjetnost nije ikonografija transcendentalnih formi nego stvarna slika razjedinjenog uma. U cilju redefiniranja pristupa umjetnosti, temeljni se jezik umjetnosti mora promijeniti; edukatori i kustosi moraju biti (...) odgovorni za poučavanje o istinskoj prirodi umjetnosti; umjetnost ne može biti jednaka estetskom iskustvu; društvo se mora reorganizirati u društvo bazirano na vokaciji, što je analogno Platonovu mišljenju.Philosophy of Art in the thinking of Anande Kentish Coomaraswamy is connected with traditional philosophy. Aesthetics in modern sense has nothing to do with traditional philosophy of art which basic principle is “The artist is not special kind of man” but “Every man is special kind of artist”. Coomaraswamy wants to redefine contemporary approach to art. Contemporary artist does not create in accordance with Eternal Truth.art is not iconography of transcendental forms but real picture of disoriented mentality. In order to redefine approach to art basic language of art must be changed; educators and curators must have responsibility to teach about true nature of art; art can not be equal with esthetic experience; society must be reorganized into one that is based on vocation in analogy with Plato’s thought. (shrink)

The development of philosophical ideas throughout history has sometimes been assisted by the use of handcrafted instruments. Some paradigmatic cases, such as the invention of the telescope or the microscope, show that many philosophical approaches have been the result of the intervention of such instruments. The aim of this article is to show the determining role that stringed musical instruments with frets had in the crisis and generation of philosophical paradigms. In fact, just as the observations of the moon with (...) the telescope broke more than a thousand years of Aristotelian hegemony, the fretted string instruments, predecessors of the guitar, played a central role in the collapse of one of the most influential approaches in the history of Philosophy: Pythagorism. We focus on the fundamental hallmarks of Pythagorism and on how, during the 16th century and from the fretted string instruments, the mathematical-musical notion of equal temperament emerged, which from the middle of the 19th century will be established as the prevailing philosophical-musical paradigm of the West. (shrink)

The development of philosophical ideas throughout history has sometimes been assisted by the use of handcrafted instruments. Some paradigmatic cases, such as the invention of the telescope or the microscope, show that many philosophical approaches have been the result of the intervention of such instruments. The aim of this article is to show the determining role that stringed musical instruments with frets had in the crisis and generation of philosophical paradigms. In fact, just as the observations of the moon with (...) the telescope broke more than a thousand years of Aristotelian hegemony, the fretted string instruments, predecessors of the guitar, played a central role in the collapse of one of the most influential approaches in the history of Philosophy: Pythagorism. We focus on the fundamental hallmarks of Pythagorism and on how, during the 16th century and from the fretted string instruments, the mathematical-musical notion of equal temperament emerged, which from the middle of the 19th century will be established as the prevailing philosophical-musical paradigm of the West. (shrink)

Belief in the divine origin of the universe began to wane most markedly in the nineteenth century, when scientific accounts of creation by natural law arose to challenge traditional religious doctrines. Most of the credit - or blame - for the victory of naturalism has generally gone to Charles Darwin and the biologists who formulated theories of organic evolution. Darwinism undoubtedly played the major role, but the supporting parts played by naturalistic cosmogonies should also be acknowledged. Chief among these was (...) the nebular hypothesis proposed by Pierre Simon Laplace in 1796, which explained the origin of the solar system as a natural development over extended periods of time. Ronald Numbers focuses on Laplace's theory as it affected American scientific thought. he first traces the history of Laplace's cosmogony chronologically, from its European inception to its demise about 1900. the last three chapters explore some of the theological and scientific consequences resulting from the acceptance of this cosmogony. Most significant was the change in the status of supernatural doctrine. When the nebular hypothesis lost credence at the end of the nineteenth century, those who had before tried to accommodate natural theory with supernatural doctrine no longer felt compelled to do so when faced with succeeding theories. The nebular hypothesis, it seems, had established natural law in the heavens. (shrink)

As past president of both the History of Science Society and the American Society of Church History, Ronald L. Numbers is uniquely qualified to assess the historical relations between science and Christianity. In this collection of his most recent essays, he moves beyond the clichés of conflict and harmony to explore the tangled web of historical interactions involving scientific and religious beliefs. In his lead essay he offers an unprecedented overview of the history of science and Christianity from the (...) perspective of the ordinary people who filled the pews of churchesor loitered around outside. Unlike the elite scientists and theologians on whom most historians have focused, these vulgar Christians cared little about the discoveries of Copernicus, Newton, and Einstein. Instead, they worried about the causes of the diseases and disasters that directly affected their lives and about scientists preposterous attempts to trace human ancestry back to apes. Far from dismissing opinion-makers in the pulpit, Numbers closely looks at two the most influential Protestant theologians in nineteenth-century America: Charles Hodge and William Henry Green. Hodge, after decades of struggling to harmonize Gods two revelationsin nature and in the Biblein the end famously described Darwinism as atheism. Green, on the basis of his careful biblical studies, concluded that Ussher's chronology was unreliable, thus opening the door for Christian anthropologists to accommodate the subsequent discovery of human antiquity. In Science without God Numbers traces the millennia-long history of so-called methodological naturalism, the commitment to explaining the natural world without appeals to the supernatural. By the early nineteenth century this practice was becoming the defining characteristic of science; in the late twentieth century it became the central point of attack in the audacious attempt of intelligent designers to redefine science. Numbers ends his reassessment by arguing that although science has markedly changed the world we live in, it has contributed less to secularizing it than many have claimed. Taken together, these accessible and authoritative essays form a perfect introduction to Christian attitudes towards science since the 17th century. (shrink)

Studies by Gardiner and colleagues connecting musical pitch and arithmetic learning support Rips et al.'s proposal that natural number concepts are constructed on a base of innate abilities. Our evidence suggests that innate ability concerning sequence ( or BSC) is fundamental. Mathematical engagement relating number to BSC does not develop automatically, but, rather, should be encouraged through teaching.

In lieu of an abstract, here is a brief excerpt of the content:Editorial Reflections on Philosophizing in Music EducationEstelle R. Jorgensen and Iris M. YobIn this article, we reflect on issues that go to the heart of teaching and scholarship in the philosophy of music education. After thirty years of editing Philosophy of Music Education Review, it is a good time to take stock of the philosophical work that has been and is being published and of challenges (...) that remain.Over the years, there has been a growing quality of philosophical articles published in the journal, due in significant part to the efforts of reviewers and the willingness of writers to work with their suggestions. Authors regularly express appreciation for the informed, critical, and constructive reviews their work receives. An exemplary body of philosophical scholarship in music education has been published over this time and PMER is regarded as a premier journal internationally devoted exclusively to the philosophy of music education. In thirty volumes of uninterrupted publication, we have sought to be responsive to important issues in music education. Our writers have engaged relevant subjects of interest to our readers, citations of articles remain strong, and articles are included in [End Page 109] university and college course reading lists. PMER is available in print and online via subscription; it has a wide digital exposure in search engines and leading indexes, and our readership continues to grow.Despite this progress, although the number of submissions has increased, their quality has sometimes been uneven. Our pedagogical commitment to foster philosophical writing and the philosophical inexperience of some writers has significantly impacted the work required to bring submissions to publication standard. Submissions sometimes evidence a lack of attention to formulating a tight argument, citing relevant sources, and polishing and editing the manuscript. The published style guidelines are too often ignored, creating a poor first impression with reviewers and editors. Writers are occasionally in a hurry to publish and less willing to entertain multiple revisions of their articles required to produce work of lasting value. The growing number of music education journals that publish philosophical work, while opening more fora, in some cases perversely result in ideologically driven, polemical, and philosophically uninformed articles in the name of philosophy. This is a good moment to reconsider the importance of philosophical fundamentals that should undergird our philosophizing in music education and what these mean for our academic responsibilities. To this end, we suggest several principles that need to be central to our philosophizing in music education. These principles also have broader implications for the expectations of scholarship in music education generally.WRITING PHILOSOPHYLike other subject areas in the academy, philosophy has its own intellectual structure, a canon of significant writings, its own interpretative methods, and its distinctive role and purpose. A philosophical paper in music education reads differently from papers in the history of music education, methods of teaching music, sociology of music education, empirical research in music education, multi-cultural, gender, and ethnic studies, music education curriculum building and policy making, and so on. And yet, the boundaries between these disciplines, which are artificial constructions when human knowledge is considered wholistically anyway, are somewhat porous with concepts and ideas and claims seeming to move easily from one discipline to another.To help distinguish between philosophy and other areas of study and research, it may be helpful to consider philosophy as a second-order activity. That is, first-order activity examines the raw data of research and experience and attempts to make sense of them. Using inference, pattern-seeking, deduction, hypotheses, statistical analysis, and so on, these activities result in claims, interpretations, and theories that give meaning to what we see, hear, and feel. [End Page 110]The second-order activity takes a step away from these first-order activities. It does not concern itself so much with raw data or with creating theories about them, but critically analyzes the claims and inferences that are made in regard to them. Where first-order disciplines analyze inputs from observation and experimentation, second-order disciplines analyze these analyses—that is, they function as meta-analyses. Philosophers do not need laboratories or fieldwork (which makes applications for grants to support philosophical research difficult to secure!). They need libraries... (shrink)

The article is dedicated to the philosophical reaction by several Russian symbolists to the revolution of 1917. It demonstrates the “re-grouping” of Silver Age symbolism, which laid bare the underlying differences in its value foundations. The article considers this refracted unity in the ideational world of symbolism, in the journalistic writings of Vjacheslav Ivanov, Alexander Blok, Andrej Bely, and Maximilian Voloshin.

Like other English-speaking peoples around the world, New Zealanders began debating Darwinism in the early 1860s, shortly after the publication of Charles Darwin's Origin of Species. Despite the opposition of some religious and political leaders – and even the odd scientist – biological evolution made deep inroads in a culture that increasingly identified itself as secular. The introduction of pro-evolution curricula and radio broadcasts provoked occasional antievolution outbursts, but creationism remained more an object of ridicule than a threat until the (...) last decades of the twentieth century, when first American and then Australian creationists began fomenting antievolutionism among New Zealanders. Although Stephen Jay Gould assured them in 1986 that they had little to fear from so-called scientific creationism, because it was a ‘peculiarly American’ phenomenon, scientific creationism by the mid-1990s had captured the allegiance of an estimated five per cent of the country and proved especially attractive to Maori and Pacific Islanders. In 1992 New Zealand creationists formed their own antievolution society, Creation Science. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to Valerie Trollinger, “A Reconception of Performance Study in the Philosophy of Music Education”Paul LouthAs an educator who is a former professional trombonist I can certainly appreciate the issues raised in this discussion. Because I am inclined to agree with the spirit (if not always the substance) of Trollinger's remarks, I would like to respond with some thoughts on the manner in which she tends to (...) frame this debate, because I believe that this has crucial implications and may explain the cause of some of the very problems she mentions.Charlene Morton writes that a "bias for procedural knowledge... unwittingly immerses school music in the polemic arising from the false hierarchical dichotomy between 'hard' and 'soft' forms of knowledge."1 By this she means that the Cartesian mind/body split, which has led to our conception of thinking and doing as exclusive matters, is not remedied by our discovery of the importance of purely procedural knowledge, because we merely reinforce this dichotomy through acknowledging the latter term as a separate category from theoretical knowledge. Trollinger is correct in asserting that the act of performance is often overlooked and is not treated as a serious concern in music education and I believe that this may be largely due to this dichotomy, which manifests itself in the way that we divorce performance from its original holistic context.In general, if we accept this argument, then debates about performance versus listening, theorizing, and so on are inherently problematic because the discourse itself reinforces an artificial dichotomy. If we fail to address the remnants of this "Cartesian anxiety," then in our attempts to address a lack of concern over performance, we may be left with a performance model that is purely utilitarian, in the sense that the body can only justifiably occupy a central place in the curriculum if there are direct, utilitarian outcomes that we can associate with it and so long as those outcomes are supported by the free market. In North America, progressive educators have been struggling for some time against the concept of school as a locus of training for the market place. This model becomes more difficult to resist, I would argue, as long as we continue to compartmentalize performance and other aspects of musicianship. Such practices reinforce an artificial distinction between procedural and theoretical forms of knowing (and, by extension, between mental and manual forms of labor) that Apple, Giroux, and other critical pedagogues would argue atomizes student knowledge in preparation for the marketplace; yet musicianship can serve many other valuable purposes.2 [End Page 231]Trollinger, in using the word "holistic," reminds us of the connection between body and mind that exists in performance. Further, she correctly states that until relatively recently, those who taught music were musicians. I would add that in Canada (where I teach), the idea that music should be taught by musicians has often been used to justify its exclusion from schools, which is indicative of our tendency to exclude those things that we deem corporeal from the life of the mind. In my home province of Ontario, recent emphasis on "the basics" has meant that music programs have vanished in great numbers, while music study is relegated to the conservatories which, with their widespread tendency to essentialize musical experience as performance in the most limited sense of the word, have contributed further to this dichotomy.My point is that all of us, including Trollinger, may wish to reconsider the nomenclature that we carry into this debate from the outset. Because the word "performance" has become strongly associated with this particular pole (it is no accident that we use this word to describe car engines and stock returns) I suggest we can best elevate our estimation of the term by replacing it with the word "musicianship." In this way we can repair some of the damage done by the Cartesian split and the consequent de-valuing of performance that has occurred through separation from its original context. Within such an integrated model, it would become problematic to debate the relative importance of performing, listening, theorizing, or any number of activities with regard to the overall goals of musicianship... (shrink)

Why is the number seven lucky--even holy--in almost every culture? Why do we speak of the four corners of the earth? Why do cats have nine lives? From literature to folklore to private superstitions, numbers play a conspicuous role in our daily lives. But in this fascinating book, Annemarie Schimmel shows that numbers have been filled with mystery and meaning since the earliest times, and across every society. In The Mystery of Numbers Annemarie Schimmel conducts an illuminating (...) tour of the mysteries attributed to numbers over the centuries. She begins with an informative and often surprising introduction to the origins of number systems: pre-Roman Europeans, for example, may have had one based on twenty, not ten, while the Mayans had a system more sophisticated than our own. Schimmel also reveals how our fascination with numbers has led to a rich cross-fertilization of mathematical knowledge: "Arabic" numerals, for instance, were picked up by Europe from the Arabs, who had earlier adopted them from Indian sources. But the heart of the book is an engrossing guide to the symbolism of numbers. Number symbolism, she shows, has deep roots in Western culture, from the philosophy of the Pythagoreans and Platonists, to the religious mysticism of the Cabala and the Islamic Brethren of Purity, to Kepler's belief that the laws of planetary motion should be mathematically elegant, to the unlucky thirteen. After exploring the sources of number symbolism, Schimmel examines individual numbers ranging from one to ten thousand, discussing the meanings they have had for Judaic, Christian, and Islamic traditions, with examples from Indian, Chinese, and Native American cultures as well. Two, for instance, has widely been seen as a number of contradiction and polarity, a number of discord and antithesis. And six, according to ancient and neo-platonic thinking, is the most perfect number because it is both the sum and the product of its parts. Using examples ranging from the Bible to the Mayans to Shakespeare, she shows how numbers have been considered feminine and masculine, holy and evil, lucky and unlucky. A highly respected scholar of Islamic culture, Annemarie Schimmel draws on her vast knowledge to paint a rich, cross-cultural portrait of the many meanings of numbers. Engaging and accessible, her account uncovers the roots of a phenomenon we all feel every Friday the thirteenth. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Culturally Responsive Teaching in Music Education: From Understanding to Application by Vicky R. Lind and Constance L. McKoyEric ShiehVicky R. Lind and Constance L. McKoy, Culturally Responsive Teaching in Music Education: From Understanding to Application (New York, NY: Routledge, 2016).In the book’s penultimate chapter, titled “Community,” we encounter a teacher who agrees to a student’s request to start a mariachi band and gets “more than he (...) bargained for.”1 We hear from a teacher who seeks a greater understanding of the context for her Black students and finds herself the only White person in many of the community events she attends. We learn about a teacher who has her marching band, predominantly comprised of Latinx students, march in annual Korean and Black community parades in the city and why she does this. What to make of these stories—inspiring, provocative, suffused with honesty? I found myself restless to share these narratives with my own teaching colleagues, to ask not simply “What do you see happening here?” but also “Where would something like this take us?”What is notable about Vicky Lind and Constance McKoy’s achievement here is that they have given us a very full book and one that provides many different points of entry—stories and theories and activities and questions—through which to engage with ideas of culturally responsive teaching. In just under 150 [End Page 210] pages with index and references, the book encompasses four chapters that review various academic traditions connected to culturally responsive teaching, concludes with three chapters that relay narratives and vignettes from K-12 music teachers, and includes throughout lists of reflection questions and teaching strategies. The primary audience is pre-service and in-service K-12 music teachers. If a key requirement for culturally responsive teaching is continuous reflection over the impacts our pedagogies have on our students and ourselves as teachers, this book’s wide-ranging engagement is indeed a welcome one.What I offer here in terms of review, then, is first a consideration of the book’s various components and where they might lead us. Second, I bring its ideas of cultural responsiveness into dialogue with ideas more commonly found in anti-racist and social justice approaches to education—traditions the book does not directly engage with but which certainly have a place in conversations around it. This is a particularly relevant time, I suggest, to engage with questions of cultural responsiveness alongside perhaps more politically-minded approaches: this book will be read, I hope, by teachers grappling with our age of renewed and visible racial struggle, increased forced migration, and cultural insecurity.The first half of the book is explicitly dedicated to “understanding” culturally responsive teaching. Its chapters present a historical overview of its conceptual development, explicate the centrality of culture and cultural competence to teaching, and discuss the connection between music and identity in young people. The authors center their conceptualization of culturally responsive teaching around Geneva Gay’s framework, outlined in her Culturally Responsive Teaching, as “using the cultural knowledge, prior experiences, frames of reference, and performance styles of ethnically diverse students to make learning encounters more relevant to and effective for them.”2 “Effective,” here, is understood broadly and includes academic competence, self-efficacy, social critique, and the freedom to be “ethnically expressive.”3In laying this foundation, the authors negotiate thoughtfully a number of tensions inherent in this work that are too often simplified in the classroom. They recognize, for example, the need to acknowledge culture as a category through which human experience is mediated, but also one that too easily gives way to stereotyping. When discussing issues of music and identity they remind readers that musical identities are multiple and suggest that musical identities might be viewed as both “bottom-up” and “top-down”—constructed through a variety of ongoing experiences as much as they are constituted by national or ethnic affiliation.4 They also do not shy from language such as “high expectations” and “academic competence” when discussing the need for comprehensive and supportive classrooms, despite the uneasiness with which these terms often sit in arts education and alongside purposes of engendering social critique... (shrink)

Originally published in 1995, The Selected Works of George McCready Price is the seventh volume in the series, Creationism in Twentieth Century America, reissued in 2019. The volume brings together the original writings and pamphlets of George McCready Price, a leading creationist of the early antievolution crusade of the 1920s. McCready Price labelled himself the 'principal scientific authority of the Fundamentalists' and as a self-taught scientist he enjoyed more scientific repute amongst fundamentalists of the time. This interesting and unique collection (...) of original source material includes five of his writings between 1906 and 1924, challenging the new Darwinian theory of evolution and natural selection through his writings on the natural sciences. His literature covers the topics of evolution and biology and critiques biological arguments for evolution. He also wrote widely on geology offering his own alternative argument of 'flood geography' in opposition to the Darwinian theory concerning palaeontology and geology. This volume will be of interest to historians of natural history and the creationism movement, as well as scholars of religion and American history. (shrink)

Originally published in 1995, The Antievolution Works of Arthur I. Brown is the third volume in the series, Creationism in Twentieth Century America. The volume brings together original sources from the prominent surgeon and creationist Arthur I. Brown. Brown discredited evolution as it was contrary to the 'clear statements of scripture' which he believed infallible, stating evolution instead to be both a hoax and 'a weapon of Satan'. The works included focus on Brown's polemic through his early twentieth century writings. (...) The essays focus on his scientific investigations and provide a negative commentary upon Darwin's theory of evolution instead focusing on biblical explanations for evolution. As a scientist Brown's unique view of evolution from a creationist and scientific viewpoint provides a fascinating lens through which to view the historical debates surrounding evolution and provides a unique insight into how Darwinian theory affected both the scientific and religious communities. This book will be of interest to natural historians, and theologians as well as academics of philosophy and history. (shrink)

In the near future, vehicles will gradually gain more autonomous functionalities. Drivers’ activity will be less about driving than about monitoring intelligent systems to which driving action will be delegated. Road safety, therefore, remains dependent on the human factor and we should identify the limits beyond which driver’s functional state (DFS) may no longer be able to ensure safety. Depending on the level of automation, estimating the DFS may have different targets, e.g. assessing driver’s situation awareness in lower levels of (...) automation and his ability to respond to emerging hazard or assessing driver’s ability to monitor the vehicle performing operational tasks in higher levels of automation. Unfitted DFS (e.g., drowsiness) may impact the driver ability respond to taking over abilities. This paper reviews the most appropriate psychophysiological indices in naturalistic driving while considering the DFS through exogenous sensors, providing the more efficient trade-off between reliability and intrusiveness. The DFS also originates from kinematic data of the vehicle, thus providing information that indirectly relates to drivers behaviour. The whole data should be synchronously processed, providing a diagnosis on the DFS, and bringing it to the attention of the decision maker in real time. Next, making the information available can be permanent or intermittent (or even undelivered), and may also depend on the automation level. Such interface can include recommendations for decision support or simply give neutral instruction. Mapping of relevant psychophysiological and behavioural indicators for DFS will enable practitioners and researchers provide reliable estimates, fitted to the level of automation. (shrink)

Originally published in 1995, Creation-Evolution Debates is the second volume in the series, Creationism in Twentieth Century America, reissued in 2021. The volume comprises eight debates from the early 1920s and 1930s between prominent evolutionists and creationists of the time. The original sources detail debates that took place either orally or in print, as well as active debates between creationists over the true meaning of Genesis I. The essays in this volume feature prominent discussions between the likes of Edwin Grant (...) Conklin, Henry Fairfield Osbourne and William Jennings Bryan, John Roach Francis and Charles Francis Potter, George McCready Price and Joseph McCabe and William Bell Riley versus Charles Smith, amongst many others. The collection will be of especial interest to natural historians, and theologians as well as academics of philosophy, and history. (shrink)

In addition to the technical writers on music, a number of ancient authors, notably Plutarch and Athenaeus, have recorded several musical terms, either by way of illustrative material—Plutarch is particularly given to musical similes and metaphors—or in the course of anecdotes about music and musicians. As musical terminology in different ages contains words or phrases not only of general acceptance and familiarity, but other more ephemeral expressions which belong to the jargon of a narrower circle of executants and (...) critics, it is possible that the musical significance of such words, when used in an apparently non-musical context, has escaped notice. (shrink)

The fragmentary columns of the Fourth Book of Philodemus' περ μονσικς were the first-fruits of Herculaneum, published in 1793, with venturesome reconstructions and learned notes, by the Academici of Naples. Fragments of the other books occur in four volumes of the Collectio Altera of 1862–5. A. Teubner Text by J. Kemke, a pupil of Bücheler, appeared in 1884, upon which Gomperz made a number of improvements in a pamphlet published in the following year. Otherwise, save for a few pages in (...) H. Abert's Die Lehre vom Ethos in der griechischen Musik published in 1899, the work has attracted very little attention; which is scarcely surprising in view of the state of the text and the peculiar awkwardness of Philodemus' Greek. (shrink)

Charles Darwin's Origin of Species, published in 1859, was a revolutionary attempt “to overthrow the dogma of separate creations,” a declaration that provoked different reactions among the religious, ranging from mild enthusiasm to anger. Christians sympathetic to Darwin's effort sought to make Darwinism appear compatible with their religious beliefs. Two of Darwin's most prominent defenders in the United States were the Calvinists Asa Gray, a Harvard botanist, and George Frederick Wright, a cleric-geologist. Gray, who long favored a “special origination” in (...) connection with the evolution of humans and questioned whether natural selection can account for the formation of organs, the making of eyes, etc., embraced natural selection as the primary mechanism underlying the production of most species. He also went so far as to invoke divine providence, rather than randomness, to explain the variations on which natural selection acted. This chapter discusses creationism, intelligent design, and modern biology. (shrink)

Community-level legal and policy innovations or “experiments” can be important levers to improve health. States and localities are empowered through the 10th Amendment of the United States Constitution to use their police powers to protect the health and welfare of the public. Many legal and policy tools are available, including: the power to tax and spend; regulation; mandated education or disclosure of information, modifying the environment — whether built or natural ; and indirect regulation. These legal and policy interventions can (...) be targeted to specific needs at the community level and are often relatively low-cost, but high impact interventions. As every community is different, effective laws and policies will vary. This freedom allows states and localities to, as Justice Louis Brandeis argued, truly serve as “laboratories of democracy.”. (shrink)

Over the course of human history, the sciences, and biology in particular, have often been manipulated to cause immense human suffering. For example, biology has been used to justify eugenic programs, forced sterilization, human experimentation, and death camps—all in an attempt to support notions of racial superiority. By investigating the past, the contributors to _Biology and Ideology from Descartes to Dawkins_ hope to better prepare us to discern ideological abuse of science when it occurs in the future. Denis R. Alexander (...) and Ronald L. Numbers bring together fourteen experts to examine the varied ways science has been used and abused for nonscientific purposes from the fifteenth century to the present day. Featuring an essay on eugenics from Edward J. Larson and an examination of the progress of evolution by Michael J. Ruse, _Biology and Ideology_ examines uses both benign and sinister, ultimately reminding us that ideological extrapolation continues today. An accessible survey, this collection will enlighten historians of science, their students, practicing scientists, and anyone interested in the relationship between science and culture. (shrink)

This book, in language accessible to the general reader, investigates twelve of the most notorious, most interesting, and most instructive episodes involving the interaction between science and Christianity, aiming to tell each story in its historical specificity and local particularity. Among the events treated in When Science and Christianity Meet are the Galileo affair, the seventeenth-century clockwork universe, Noah's ark and flood in the development of natural history, struggles over Darwinian evolution, debates about the origin of the human species, and (...) the Scopes trial. Readers will be introduced to St. Augustine, Roger Bacon, Pope Urban VIII, Isaac Newton, Pierre-Simon de Laplace, Carl Linnaeus, Charles Darwin, T. H. Huxley, Sigmund Freud, and many other participants in the historical drama of science and Christianity. (shrink)